There had been really a couple of versions from the Arcadian Shepherds painted by Poussin. Both consist from the same visual theme: arcadian peasants, 3 men and 1 woman, check the words over a tomb. In each paintings, the words are "Et in Arcadia ego," that are translated as either "I, too, in Arcadia" or "Even in Arcadia, I [am present]."4 The second version, painted in 1655, clearly shows the classical variety that Pouslsin adopted whilst living in Rome. The very first version, however, was possibly painted within the late 1620s, soon after Poussin's arrival in Rome. Therefore, the artist had not yet produced the sense of classicism that he would later turn out to be famous for. Due to this, the painting shows the influence in the baroque kind that Poussin followed during the early part of his career.
One predominant feature in the baroque sort is its sense of dynamism, or movement. This really is created from the Arcadian Shepherds by the way that 3 of the figures seem being leaning toward the right. This positioning on the figures helps lead the eye toward the words on a tomb. The dynamism of the painting is also noticed from the way how the diagonal line of these three figures is contrasted by the opposing direction on the tree branch behind them. A contrast can also be produced by the single figure that sits on the ground with his back towards viewer. This figure is leaning somewhat toward the left, from the opposite direction in the other 3 figures.
Carrier, David. Poussin's Paintings: A Study in Art-Historical Methodology. University Park, PA: The Pennsylvania Nation University Press, 1993.
In addition to showing baroque influences, The Arcadian Shepherds shows the influence of Titian as well as the Venetian school of painting. In accordance with Wilkin, "it is usually agreed how the young Poussin, on his way to Rome for ones very first time, stopped a even though in Venice, and if we rely on the evidence of his paintings, it is clear that Venetian painting, especially Titian, had as a lot impact on him as the sources he continued to understand in his adopted city."5 The elements of the Venetian kind are clearly supply in Poussin's The Arcadian Shepherds. For example, Titian was known for using subtle shades of color to make a soft and sensual effect. That is observed during the Arcardian Shepherds in Poussin's treatment of clouds, trees and flesh. During the words of de la Croix and Tansey, the earlier version in the Arcadian Shepherds is "strikingly Titianesque, with all of the warm, rich tonality with the Venetian master and the figure sorts familiar in Titian's idyllic 'bacchanals.'"6 Wilkin agrees that Poussin's The Arcadian Shepherds, in addition to most of his works with the late 1620s, "owe an enormous debt on the Venetians."7 Relating to the paintings of this period, Wilkin notes: "The golden light, the blurred landscapes and luminous skies, the full-fleshed, softly modeled gods and mortals, the warm, radiant color all testify to how much the young French painter learned from Titian and his circle."8
In order to completely analyze the visual elements of Poussin's painting, it is essential to also contemplate the iconography in the work. In essence, iconography refers on the symbolic meanings from the visual points inside a painting. From the words of Pierre Rosenberg, chief curator at the Louvre, very much from the current research in studies of Poussin's work is inside field of "iconography, in all its variety: covering
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